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The Client Brief (O Briefing do Cliente)
 

The Client Brief (O Briefing do Cliente)

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Material criado e publicado pelo IPA - Institute of Practitioners in Advertising, do Reino Unido. Ensina os anunciantes o passo a passo para a elaboração de um briefing para as agências de ...

Material criado e publicado pelo IPA - Institute of Practitioners in Advertising, do Reino Unido. Ensina os anunciantes o passo a passo para a elaboração de um briefing para as agências de comunicação.

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    The Client Brief (O Briefing do Cliente) The Client Brief (O Briefing do Cliente) Document Transcript

    • THE CLIENT BRIEF A best practice guide to briefing communications agenciesJoint industry guidelines for young marketing professionals in working effectively with agencies
    • FOREWORD“FORGET, JUST FOR A MINUTE, THAT YOU ARE BRIEFING AN AGENCY. INSTEAD, PRETEND YOU ARE STANDING ON THE BANK OF A RIVER ABOUT TO BUILD A BRIDGE.” Around you are architects, builders, all sorts of different experts that you have hired to help you. They might all come from different specialist companies, they might all come from a single one-stop-bridge-shop. It really doesn’t matter. CHRIS HERD All that matters is that you build the best and IPA Value of Advertising Committee most effective bridge you can. So what brief should you give them in order If every agency involved in your campaign shares to get that perfect bridge? that same information, aren’t they likely to work better together to achieve the desired result? How about where it should start from? Where are you standing right now? So when you’re writing an agency brief, think Where is ‘point A’? They need to know that. “Where am I now?” and “Where do I need That’s not up for debate. to get to?”. Make it crystal clear. And you’ll find that most agencies will be pretty good And what about where it should finish? at getting you there. Where’s ‘point B’? The destination. If I were the architect, that’s the bit of information I think that’s the single biggest thing we’ve learned I’d want made pretty clear. from all of our research in preparing this guide. So I hope it sings out loud and clear as our single Finally, what about how to build the bridge itself? biggest recommendation. Probably not. Now, back to bridges. Maybe you’d give them some ideas on what the The Millennium footbridge. Wouldn’t you just love bridge might look like, what vehicles will need to to see the original client brief? cross it, what size boats will need to go underneath it, how high the hand-rails should be, etc, etc. But you’re not going to tell them how to build the bridge. That’s their job. You’re going to sit back and wait to see the drawings. It’s the same with briefing agencies. They need to know where you are now. And they need to know where you want to get to. What will success look like? And how will it be measured?
    • INTRODUCTION “THE BETTER THE BRIEF, THE BETTER AND MORE ACCURATE THE RESULTS.”The aim of this new joint industry initiative is to We have conducted research with over 100 clientsprovide you with best practice guidelines on how and more than 100 agencies to quantify these viewsto brief communications agencies and make the (you will see verbatim comments and figures frommost of their expertise. the research illustrated throughout the text). We have also considered many briefing templates developedThere are universal pressures on all clients to work by clients and agencies alike to distil the ‘commonfaster, cheaper, better, and increasingly your personal ground’ and we have discussed briefing techniquessuccess will be connected to your marketing activity with many independent expert consultants to ensurebeing more effective. Adopting these guidelines will that our guidance document is as reflective ofpositively impact upon this success. current best practice as possible.In addition there’s a growing requirement for clients We want you to use this template to help yourto demonstrate that robust processes exist within marketing teams become the best briefing practitionerstheir own operations. Formally adopting best practice possible. We want agencies to disseminate the guidein agency briefing will go a long way to satisfy far and wide amongst their client base. We wantthis requirement. you to consider joint training with your agency.The brief is the most important bit of information Together we can make a difference and truly improveissued by a client to an agency. It’s from the brief that effectiveness whilst limiting the wastage of timeeverything else flows. Indeed written briefs are a and money for all concerned.point of reference that can be agreed at the outset I welcome your comments, suggestions and questionsand therefore, to some extent, form a contract on this important topic and assure you that ISBA willbetween client and agency. continue to work with the IPA, MCCA and the PRCA toThe better the brief, the better and more accurate deliver first class information, training and services tothe results. The more time, effort and information enable advertisers to manage their agencyyou input at the start, the greater the time savings relationships more and more effectively.throughout the process.This document is designed for use with all types ofcommunications agencies. We have included a simplelist of the main headings in a good brief for easyreference and a short summary of what each sectionshould contain. There is also a longer web-baseddocument, which goes into more detail. DEBBIE MORRISON ISBA Director of Membership Services
    • THE CLIENT BRIEF WHY WRITE A BRIEF? THERE ARE THREE COMPELLING REASONS WHY IT IS WORTH WRITING A BRIEF FOR EVERY PIECE OF WORK THAT YOU COMMISSION AN AGENCY TO DO: 1 It leads to better, more effective and measurable work 2 It saves time and money 3 It makes remuneration fairer1 BETTER WORK A brief is the most important piece of information thoughtfully its key business issues are described, issued by a client to an agency. It’s from the brief that the more likely it is that strategic and creative thinkers everything else flows. Therefore it’s essential that in agencies will be able to apply their specialist skills every effort be taken to prepare the best possible to produce great solutions. documentation of what is required. “The whole idea is to stimulate the creative It’s in the nature of creative thinkers that giving them imagination, not to restrict it. Ultimately you are the tightest of parameters will often stimulate the buying creative ideas. Procurement people can most inventive of responses – and 79% of clients and sometimes write briefs as though they were buying agencies agreed that: “It is difficult to produce good copper piping or paperclips. But selling is an art. creative work without a good brief” . It’s more like briefing an architect. We need agencies to feel inspired so they can do their The client brief can be considered the platform for a best work.” communications campaign. The better a company’s corporate or brand position is defined and the more (‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE)2 SAVING TIME AND MONEY The biggest waste of agency resources is to put “The written brief instils a discipline on my team them through the process of developing a solution repeatedly without concrete direction. It wears on relationships and is costly in wasted staff time (on both sides). and the agency to be very clear about what the objectives and expected outcomes are.” (‘BRIEFING’ RESEARCH 2002: CLIENT SAMPLE) I Both clients and agencies say that ‘time pressures’ “We need agencies to get more work right are the main reason for inadequate client briefs. first time. That saves time and money. A proper But in fact not writing a brief to save time is a written brief makes the process more efficient false economy, as more often than not it leads to – that’s good for clients and good for agencies.” re-working. Worryingly, 75% of agencies and 55% (‘BRIEFING’ RESEARCH 2002: CLIENT SAMPLE) of clients agreed that: “The briefs that we work on are often changed once the project has started”. In our research 99% of agencies and 98% of Worse, 79% of agencies reported that: “Clients often clients agreed that: “Sloppy briefing and moving use the creative process to clarify their strategy”, goal posts wastes both time and money” A clear . and even 35% of clients agreed with this. It’s like written brief can minimise this wastefulness and using your first set of curtains merely to define how maximise the chances of a ‘right first time’ agency big your windows are! response to the client.
    • WHY WRITE A BRIEF? “A PROPER WRITTEN BRIEF MAKES THE PROCESS MORE EFFICIENT– THAT’S GOOD FOR CLIENTS AND GOOD FOR AGENCIES.” 3 FAIRER REMUNERATION One of the criticisms that marketing people face Clearly the scale of the project will dictate the depth from their colleagues in finance and in the boardroom and complexity of your brief – one for a major new in general is that they lack accountability for the brand launch will obviously be much more detailed very significant sums of money they spend. than one for a small tactical advertisement within an existing campaign. The caricature of the flash and superficial marketing executive will only be dispelled by a But, whatever the task, a written brief that includes more professional approach. Ensuring that briefs ‘objectives’ and ‘success criteria’ is the foundation are written for every project from every agency stone for accountability and demonstration of the is an essential place to start. effectiveness of advertising, media, PR, direct marketing, sales promotion and indeed all forms Over 90% of agencies and 84% of clients agree that: of commercial communications. And without the “Payment by results is impossible without fully ability to demonstrate our effectiveness, none of us agreed business objectives” Given the increasing . will receive the remuneration that we deserve. prevalence of a PBR component in so many remuneration agreements, this is another compelling reason for a proper written brief.IN REAL LIFE WITH ANDREW NEBEL Clients generally get the agencies they deserve! The best work flows from client/ agency partnerships that are built on mutual respect, integrity and a joint humility of approach which allows the professional perspective of both parties to be recognised and respected. In working together successfully, clients and agencies need to achieve the commercial equivalent of a ‘Vulcan mind meld’, which can only flow from clear, open and non-precious communications in both directions. Establishing a clarity of purpose through the definition of objectives which are outcome focused and measurable is clearly at the heart of the briefing process. Clear briefs are not the only critical success factor in arriving at good advertising and marketing, but without this sound starting point you have little chance of success. ANDREW NEBEL Barnardo’s – UK Director of Marketing & Communications
    • THE CLIENT BRIEF THE PRINCIPLES BEHIND A GOOD BRIEF THERE IS REMARKABLE CONSENSUS AMONGST CLIENTS AND AGENCIES ABOUT WHAT MAKES A GOOD BRIEF. THERE ARE THREE KEY AREAS: 1 Written briefs 2 Clarity of thinking 3 Clearly defined objectives 1 WRITTEN BRIEFS Our research shows that 94% of clients and 98% By discussing this written brief, each party has the of agencies believe: “A combination of written opportunity to build on the written brief, challenge it and verbal briefing is the ideal” Both parties see . and buy into it. It assists clarity and helps build an enormous benefits in starting with a written document effective team.” produced by the client, which is then analysed by the (‘BRIEFING’ RESEARCH 2002: CLIENT SAMPLE) agency and debated between the two teams. A written brief is also vital in ensuring the ‘buy-in’ “We prefer a written brief because this forces the of other key people in your company. This buy-in is client to consider their request. The discipline of essential in order to avoid the significant waste of writing a brief ensures some rigour on their part. time and resources that can happen when senior The opportunity to discuss this at a subsequent executives – often outside the marketing department verbal briefing usually allows us to cover any – challenge key assumptions in the brief, leading to inconsistencies and, if necessary, develop focus belated changes in direction. Written briefs should through mutual agreement.” have the buy-in of all interested parties before they (‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE) are delivered to your agency. The process of developing, discussing and agreeing Nowadays, when you may retain three, four or more the brief in this manner in itself adds value. And if agencies to work on different aspects of your more than one agency is involved in developing the organisation’s corporate or brand communications, campaign (as is often the case with media and the premium on convening a key meeting to enable creative agencies) it is advisable to brief all parties all parties to debate and contribute to the brief has never together – with one written brief and one subsequent been greater. Having people with advertising, media, briefing meeting. direct marketing, public relations, sales promotion and other communications skills together in one room at the “By writing a brief we have focussed on what it is beginning of the project will add enormous value and we are expecting from our activity and what we set the shared agenda for the work ahead. expect our agencies to contribute/come back with.IN REAL LIFE WITH ALAN DOYLE In the words of Bill Bernbach, “Our job is to simplify”. The key to effective briefing is to provide a simple insight that can be dramatised memorably. Ensure that you know exactly what you want. Then tell the agency as clearly as possible. (It also helps to have a seamless relationship with them stretching back over four decades, mutual understanding and respect, a fine brand and peerless products.) ALAN DOYLE Volkswagen UK – Communications Manager
    • THE PRINCIPLES BEHIND A GOOD BRIEF2 CLARITY OF THINKING A good brief is not the longest or most detailed, it’s of information and it should focus on setting out the the one whose clarity and focus creates the platform objectives of your product or service that commercial for a great strategic leap, a blinding customer insight communications can play a key role in achieving. and an effective solution. This appeal for clarity and objectivity, however, is not Briefs are called ‘briefs’ because they are meant an attempt to reduce your creativity. For instance, to be brief. They are a summation of your thinking. often your dramatisation of the brand’s situation and Try to attach all relevant supporting information the key issues it faces can spark off great creative as appendices. thinking. The tried and trusted ‘factory visit’ should not be forgotten and there may be other more innovative As Blaise Pascal put it in his Lettres Provinciales ways that you could light the creative fuse. of 1657; “I have only made this letter longer because I have not had the time to make it shorter.” Too much “Clients should not underestimate how much a information can fog the process. Relevance and good brief, written with real flair and delivered with context are more important than reams of data. belief, can help enthuse and inspire the agency.” (‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE) “The main difference between good briefs and bad briefs is that good briefs leave you with a clear Remember that briefing your agency is a joint and understanding of what you are trying to do. Bad briefs dynamic process. Whilst this booklet encourages drown you in contradictory information and objectives” . a formalised approach to briefing in order to (‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE) create clarity, this should never be at the expense of additional, more dynamic and inspirational The client brief should therefore be a concentration of briefing methods. your current thinking, it should contain key nuggets3 CLEARLY DEFINED OBJECTIVES “Ultimately the point of communications is to get “The clarity of the objectives is the most people to do things. Which people? What things? fundamental part of a good written brief. The single You’ve got the basis of the brief right there. greatest frustration is when there isn’t a clear Everything else is detail.” and credible problem to solve.” (‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE) (‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE) Start by making sure that your objectives are crystal Almost all agencies and 82% of clients believe clear. Use concrete business objectives rather than that: “Client briefs should focus on making sure vague terms such as ‘to improve brand image’. the business problem is properly defined”. (And remember, every objective starts with Furthermore, 72% of agencies and 84% of clients say: the word ‘to’…) “All briefs should have effectiveness criteria and evaluation methodology written into them”. If your objective is indeed to improve your brand image, then go further. Explain the desired improvement that Since no remuneration agreement that contains a you want to achieve. From what to what? What will performance related element can be made to work it do for your business? (eg so IFAs will recommend without appropriate measures of performance, your brand, etc). What’s your business rationale for quantifiable objectives should always be set. spending £xm to achieve this? Concrete business So, clearly defining the objectives to establish the objectives rather than woolly intermediate objectives project’s ‘success criteria’ (what will success look are essential. like and how will it be measured?) is the number one principle of writing a good brief.
    • THE CLIENT BRIEF WHAT A GOOD BRIEF SHOULD CONTAIN THE KEY SECTION HEADINGS OF A BEST PRACTICE CLIENT BRIEF ARE AS FOLLOWS: 1 Project management 5 Who do we need to talk to? 2 Where are we now? 6 How will we know we’ve arrived? 3 Where do we want to be? 7 Practicalities 4 What are we doing to get there? 8 Approvals These headings and sections should be completed for role for any agency, and their response should be every brief you give to an agency. Clearly the depth required in the context of the client marketing and of detail within each section will vary according to campaign strategy set out clearly under “What are circumstances: this week’s tactical retail price offer we doing to get there?” and “Who do we need will be heavy on the practicalities; the next major to talk to?” campaign for a brand intended to last for five years A crucial point is to be explicit as to the measures will be stronger on the strategic issues. of the effectiveness of the exercise, ie “How will Generally your brief should focus on defining the we know we’ve arrived?” ‘two ends of the bridge’: “Where are we now?” At either end of the brief there are the operational and “Where do we want to be?” Creating requirements of “Project management”, communications to build the ‘bridge’ for the brand “Practicalities” and “Approvals”. to travel between these two points is the key 1 PROJECT MANAGEMENT You should ensure that the basic facts of the project are provided. These will vary according to your internal systems, but the following are common bits of information that are required: DATE; PROJECT NAME; PROJECT TYPE; PURCHASE ORDER; JOB NUMBER COMPANY: PLC/GROUP COMPANY; OPERATING COMPANY/BRAND OWNER BRAND: NAME/VARIANT CLIENT TEAM: NAMES/TITLES AND CONTACT DETAILS AGENCY/S: NAMES/TITLES AND CONTACT DETAILSIN REAL LIFE WITH ALAN BISHOP Arriving at the COI after a long history on the agency side at Saatchi & Saatchi, I’ve been forcibly reminded of how important a disciplined briefing process is, especially in the complex communications environment in which our clients in Government departments operate. Both in my private sector days and now at the COI, I find that working to a clearly written brief gets the right results: be clear on where you are now, where you want to be, and then employ the best agency people to get you there. ALAN BISHOP COI – Chief Executive
    • WHAT A GOOD BRIEF SHOULD CONTAIN YOUR BRIEF SHOULD FOCUS ON DEFINING THE ‘TWO ENDS OF THE BRIDGE’: “WHERE ARE WE NOW?” AND “WHERE DO WE WANT TO BE?”2 WHERE ARE WE NOW? Describing the current position of the brand, its background and the key issues it faces defines the start point for the journey on which communications will take the brand. The brief should try to contain the following information: product or service description (including key attributes and benefits); manufacturing or service delivery; distribution channels; market size (volume and value); customer usage data; the brand’s positioning; its history of brand communications, competitive brands/products and their communications activity, etc.3 WHERE DO WE WANT TO BE? This section defines the desired destination of the journey on which successful communications will have taken you. The goal should be set in the context of the overall corporate business and marketing plan, as well as what will be achievable by this specific project on the proposed expenditure. A single-minded and measurable objective is usually a pre-requisite for success. Typical objectives are to effect improvements in sales, usage, awareness, image, reputation, profitability, customer profile, shareholder value, and/ or response levels – although there are many other possible objectives of communications. A quick glance at any selection of award winning papers from the IPA Effectiveness Awards, the MCCA Best Awards or the PRCA FrontLine Awards will reveal that there are nearly as many valid objectives for communications campaigns as there are campaigns themselves!4 WHAT ARE WE DOING TO GET THERE? MARKETING STRATEGY: It’s unlikely that advertising or other communications will achieve the defined objective alone, so it’s essential for the agencies involved in developing these communications to have a full understanding of the total marketing and communications strategy – and of the programmes that you have already put in place. It is also essential that this strategy is demonstrated to be in line with and in support of your overall corporate business plan. CAMPAIGN STRATEGY: The campaign that you are briefing will probably involve more than one medium or communications discipline – and hence more than one agency – all of whom will need to know your overall campaign strategy. This section should describe and define the campaign plan, as well as the specific advertising/media/PR/DM/SP/etc briefs within it. Think about what direction you can give to your agencies’ creative briefs. And what inspiration you can give them. What is the role of each medium or discipline within the total campaign? And for each one, what is the key message? What brand/tonal values are required?
    • THE CLIENT BRIEF5 WHO DO WE NEED TO TALK TO? All communications are designed to elicit some form of response from a particular group of people. These target groups should be defined and prioritised as accurately as possible via demographics, lifestyle, product usage, attitudes, etc. Equally important are the insights that you and your agencies already hold about these target groups that can be leveraged to create the desired reaction. Often your agency will conduct further research to generate even greater understanding – and your existing insights will provide them with a useful and welcome platform to build on.6 HOW WILL WE KNOW WE’VE ARRIVED? You and your agencies need to know what success (or failure) will look like. Measures should be put in place to establish whether or not the campaign delivers against its desired objective. How will the campaign be measured? When will it be measured? Who will measure it? This is vital to the operation of PBR remuneration agreements. Remember that most communications campaigns are steps along the path of a bigger journey. Progress towards the bigger and longer-term brand and corporate goals should also be measured.7 PRACTICALITIES Your agencies’ responses to your brief will have many implementational consequences, so it’s important that all the key practicalities for them to bear in mind are included in your brief. These fall into three main areas: BUDGETS: An upfront tackling of budget issues (and the anticipated results from different budget levels) will dramatically reduce the reworking of solutions – reducing total costs and improving integration across the campaign. Your approach to setting the budgets may vary from brief to brief. Ideally, you will know the budget from the outset, in which case it should be clearly stated and broken down into its component parts. Sometimes, however, ‘scenario budgeting’ will be required in order to give clear direction to the agency. For instance one or more hypothetical budgets might be supplied (ie what would your recommendation be on budgets of £x, £y and £z?). Alternatively, you might request the agency’s recommended budget to achieve a set of given and measurable objectives. TIMINGS: What are the key delivery dates? What are the key payment dates? When should the key project milestones be set? What are the booking dates or deadlines for media? Should it consider the timings of other campaigns? Is there a sales conference whose deadline precedes the media copy date? How do you want the creative timings to run (eg tissue meetings)? What phases of pre-testing research are planned? What are the logistics of production? OTHER CONSIDERATIONS: Each communications discipline will have different practicalities that should be thought through before the agencies are put to work. For creative briefs, are there any agreed media strategies and vice versa? Are there any background documents to append to the brief? What legal constraints are there in this market? It is vital legal and regulatory restrictions are identified and raised with agencies, particularly in relation to sensitive sectors such as financial products, alcohol and food and children. Ensure agencies are briefed on corporate codes of practice and ethics. Establish from the start that illegal activities such as fly posting are not part of the brief.8 APPROVALS The final piece of detail needed in the brief is who has the authority to sign off the work that the agency produces. This person (or people) should also be the one(s) to sign off the brief before it is given to the agency and, preferably, to attend the resulting presentation.
    • WHAT A GOOD BRIEF SHOULD CONTAIN THE MAIN SECTIONS OF THE CLIENT BRIEF START HERE 1 PROJECT MANAGEMENT 2 WHERE ARE WE NOW? WHERE DO WE WANT TO BE? 3 WHAT ARE WE DOING TO GET THERE? 4 5 WHO DO WE NEED TO TALK TO?HOW WILL WE KNOW WE’VE ARRIVED? 6 PRACTICALITIES 7 8 APPROVALS BRIEF NOW
    • NEED TO KNOW MORE?If you would like more detailed guidance on briefing we have created an online version of this guide, with eachsection and its sub-sections described more fully, and with examples by way of illustration. This will providein-depth guidance and could be a helpful tool for any company wishing to incorporate the principles of briefinginto in-house training modules.There is a practical, interactive online briefing tool at www.clientbrief.info based on this best practice guide.The full online briefing guide is available as a downloadable PDF from the following websites:www.IPA.co.uk www.ISBA.org.uk www.MCCA.org.uk www.PRCA.org.ukGUIDES IN DEVELOPMENTThere are five more joint FINDING AN AGENCYindustry guides ‘under A best practice guide to agency search and selectioncontruction’, all designed tohelp you get more from yourcommunications agencies.Please contact the IPA, ISBA,MCCA or PRCA if you wantto get more details. Joint industry guidelines for young marketing professionals in working effectively with agenciesIPA ISBA MCCA PRCA44 Belgrave Square 44 Hertford Street 3-4 Bentinck Street Willow House, Willow PlaceLondon SW1X 8QS London W1J 7AE London W1U 2EH London SW1P 1JHUnited Kingdom United Kingdom United Kingdom United KingdomTel: +44 (0)20 7235 7020 Tel: +44 (0)20 7499 7502 Tel: +44 (0)20 7935 3434 Tel : +44 (0)20 7233 6026Fax: +44 (0)20 7245 9904 Fax: +44 (0)20 7629 5355 Fax: +44 (0)20 7935 6464 Fax : +44 (0)20 7828 4797E-mail: info@ipa.co.uk E-mail: info@isba.org.uk E-mail: info@mcca.org.uk E-mail: info@prca.org.ukCreative development and design by Su Johnstone. For further information email info@sujohnstone.com or telephone 07976 793368.First published July 2003, reprinted November 2004.